Countdown from Clay Lane
Solo exhibition, Winter 2025 Multimedia projection and sculpture installation, 6.2ft x 4.3 ft projection onto wall and crate, AV Room in University of Reading Art Department
Materials: Wooden crate, 2.2 x 2 ft, Yorrick sculpture, vintage clock, AV equiptment: long throw projector kit, speakers
Research/Context of this exhibit: In preparation for the spring exhibition ‘Moult’s Guided Tour’ I wanted to practise the projection element of my installation. I had visited the Moderna Museet in Stockholm, Sweden October 2025 and saw the work ‘Hours’, 2017, by the artist duo Gideonsson/Londre. Link:
This peice consisted of three mounted wall clocks with automated swinging pendulums. Each clock ran slightly differently, so they drifted out of sync over time creating a subtle change in rhythmn. The clocks are manually wound by the museum staff daily which becomes a part of the work itself.
The work captured the literal sense of the passing of time, making you very aware of your current disposition and placement in relaity. It for me created a dissociative state. I felt this linked closely with my body of work and it’s context of Dissasociative Identity Disorder (previously known as Split Personality Disorder) and the ‘Alter’s’ within my Unnamed Creature. In the final chapter of my dissertation they wait, under the hollow tree for the ‘UC’ to arrive. This eternal waiting for cohesion is an important part of trauma and hauntology theorems and is a basis for my practise. I took videos of the work ‘Hours’ and edited artwork of my own on top of it, including childhood photographs, blended and layered but still rhythmically paced- matching the ticking of the clocks. This sound later became very important for my Interim Show as it was the core of the soundwork in that installation.
I decided to have the video projected onto a wall but also my ceramic peice, ‘Yorrick’. I experimented with the placement of this and settled for a central position ontop of the crate (though I later changed this to a child’s sidetable for Moult’s Guided Tour) I liked the rabbit silhouette it created, and the singular eye when the image of me as a child appeared. I felt that the ceramic rabbit was to operate as a surrogate body, turned away yet seemingly aware when the eye appears. This produces a split gaze, suggesting a dispersed and unstable sense of self- important for my context. This is an attempt to embody the tension between presence and withdrawal. Layered projection, incorporating ‘Hours’, is to destabilise - creating the illusion of a functioning pendulum while merging past and present into a continuous loop. The ticking clock reinforces the atmosphere as cyclical and oppressive. Through sound, projection, and object, the work constructs a space where identity is fragmented, perception is unreliable, and the past persistently inhabits the present.